Painting details of the face
Page 4 of tutorial on using Corel Painter to produce child portraits
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The shape of your face

Feel your own face. Feel the deep sockets where your eyeball sits, feel the dimples around your mouth corners and nostrils. Now feel the lumps and hillocks of your eyebrows, nose, lips and the ball of your chin. With colour we will model the portrait to try to show these cavities and bumps.

5. Features: Lightly draw the features:  With burgundy, fine brush (size 2 or 3) and medium pressure I draw in the eyebrows and eyes leaving enough space between the eyes for another eye, see diagrams below. I draw the pupils and the irises. I draw the nose and mouth Tutorial Page 4 of 7
Leave space for an imaginary third eye.


6. Painting the eyes: Here I darken the brown irises with burgundy paint and with white softly stroke eyeballs on either side of the irises.

7. The pupil of the eye is painted in black, and also the shadow under the upper lid with which it is blended. Highlights using white and small brush are added to the left of the pupils on margin between pupils and iris just below the lid shadows. Keep highlights small. Make both eyes look in the same direction. Paint eyelashes if they are visible.
8. Flesh tones: Flesh is many colours. I mix and match using different strengths of all colours in the colour set to make many subtle colours. I leave much untouched relying on the paper colour. Using shell pink, large brush and very gentle pressure, I stroke the forehead and cheek sides.

I paint the lips in the rose pink.

I feel unhappy about the jaw size. It looks too big to me. I change the colour to burgundy and redraw the chin bone. The new line is above the old line and the old line becomes the neckline. Yes, I like that better.
  9. Nose to chin - modelling shadows. I put in shadows first and then the highlights. Modelling means making it look 3D by adding shadow and highlights. Now looking at the area from below the nostril line down all the way to the chin line, the surface undulates quite a bit. With the light falling from above, the shadow is cast below the nose, on the red top lip, which shadows the top of the teeth. The shadow falls under the lower lip and under the little chin ball, see arrows in diagram. The corners of the mouth (peeping into the mouth cavity) are painted in very dark burgundy with firm pressure.
10. Nose to chin - modelling highlights. When you want to place a highlight, you must first lay a shadow or there will not be enough contrast for highlights to show up. I paint a shadowy smudge of burgundy on the ball of the nose then, with shell pink, I paint the light that falls on the upper side of the nose tip, the philtrum (flesh between nose and mouth), centre of lower lip and upper surface of the chin ball, see diagram.

Reflected light: I see a fine line of light along the lower margin of the nose tip above the nostrils and I paint it in shell pink with a fine brush.
Teeth: The lower part of the teeth are subtly picked out with white. Donít pick out individual teeth.

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All artwork © Jeanie Mellersh